This scene in “The Story” concluded a recent float tank session like a vague memory from a life I never lived. Shortly after John (right) arrives at Trishna’s family farm, her father Divit (center) has “the chat” he has with anyone that is considering becoming close friends with any of his daughters or sons. Let’s explore how I’m building this scene, so once I write it formally, it will have the appropriate emotion and resonance.
“Train’s running late.”
“Yeah, Sam, and normally there are at least some people here at this stop.”
“It’s weird, Jane. This’s the last post outta 174′ in rush-year traffic. What day is it?”
“It’s five past October. No holidays come to mind in the Neuro. Weird.”
Two salarywomen chat about their delayed train at the 29th post of the FP-line, exiting the 174-9-Ughbug Space Colony for the 309-29-Suburbs, when one will step out onto the tracks.
After dislodging “The Story” from my memories last year, I’ve been busy! I’m spending most of my “down time” learning how to tell this story: analyzing good storytelling, critiquing bad storytelling, writing almost daily, and anything to improve my writing toolbox. After realizing that the main characters would have physical impairments, I realized I had to educate myself on how to “do it right,” so let’s consider: under-representation, invisibility, “hiding impairments,” and their world’s prosthetics.
Spoiler Warning Scale: Minor (world-building, rant)
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Personality tests are fun pseudo-scientific sociology exercises to help people explain themselves to others. I can empathize with a few. Their major problem is that they restrict each tester into a personality box where they are only their test result. In this week’s update to “The Story,” along with a casual Applied Psychology entry, let’s explore why. I’ll use the main characters John and Trishna as examples, factoring in the psychological importance of “breaking character.”
It’s been useful having physical representations of the main characters of “The Story.” I can bring these minifigs representing Trishna (left) and John (right) along with me to brainstorm ideas on the go and their ubiquity allows me to quickly consider in new ideas. The set with Trishna’s wheelchair also had this dog, which after some brainstorming, became a pivotal character in her back story. Let’s explore how one dog could provide such great service.
Spoiler Warning Scale: Minor (character-building, without major plot details)
WANNA INCIDENTALLY READ MORE ABOUT SERVICE DOGS ALONG WITH A DOG CHARACTER BIOGRAPHY? CLICK HERE TO KEEP ON READING!
“The Story” will mainly tell the story of two characters: John (left) and Trishna (center). During a summer they spend together on Trishna’s family farm before heading off to college, after years of chatting exclusively online with the occasional phone call, they learn about each other and the world. They’ll talk with her parents Divit (center) and Brigit (right) about these topics, in passing, cemented with one serious conversation that should help them stay safe.
Spoiler Warning Scale: Minor (backstory and worldbuilding)
WANNA SEE THE BRAINSTORMING BEHIND THE BIG TALK? CLICK HERE TO KEEP ON READING!
“Tasks are how we succeed or fail. Everyday, we must complete tasks, John. This book has all tasks we must do today.” Let’s broadly consider discipline in this week’s update to “The Story.” Though primarily focused on how John (left, waving) learns to integrate with his new family and living environment on the Lanchester Farm, after years of chatting online with their youngest daughter Trishna (right, sitting), there might be some general motivational material, too.
Spoiler Warning Scale: Minor (analogies using Trishna’s family farm worldbuilding)
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Whether or not you’re weighed down by material possessions may depend on your perception of their usefulness as tools. I find value in tools that I haven’t used in four months, like Dr. Mindbender here, or even four years. Others may find hindrance with those older tools. Let’s explore the material perceptions of the main characters of “The Story,” since Trishna (left) grew up in a decently comfortable middle-class family and John starkly did not.
Spoiler Warning Scale: Minor (backstory, general worldbuilding, and something sexy)
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“My parents worked really hard to take me out to the store regularly, but it was never really casual.” “I never really had the opportunity to go anywhere just for fun, so let’s start!” Most of us take everyday moments for granted. In this week’s brainstorming update to “The Story,” let’s consider how often Trishna (center) and John might go out to buy groceries or shop for new clothes, and how it could be normalized.
Spoiler Warning Scale: Major (brainstorming events after “The Scene”)
WANNA READ SOME THOUGHTS ABOUT WHAT WE CAN DO TO IMPROVE? CLICK HERE TO KEEP ON READING!
This scene popped in my head, almost fully realized. Small glimpses into “The Story” frequently say hello, moments where Trishna (left) might interact with someone or I might wonder how she or John (not pictured) might overcome certain situations, yet rarely are these daydream moments so powerful as this scene was on Tuesday. Let’s explore one of the more foundational moments of The Story: a conversation between Trishna and her parents, Divit (middle) and Brigit.
Spoiler Warning Scale: Minor (building a crucial pre-narrative beginning scene)
WANNA READ A ROUGH DRAFT OF HOW THIS SCENE MIGHT PLAY OUT? CLICK HERE TO KEEP ON READING!